Throughout my body of work, I explored patterns, experimenting both formally and conceptually. Many of my works were inspired by stereotypes or preconceived notions, which develop based on detected patterns in human behavior. More specifically, I examined the transition from childhood to adulthood, artistically recording my thoughts and feelings as I developed as an individual, becoming aware of what was expected of me as a young adult. I used repeated images, colors, and lines to iterate these expectations that adults have of all teenagers in adjusting to "the real world."
I came across Cynthia Daigneault's work early into my IB Art experience and was inspired by her yearlong project "I Love You More Than One Day," fascinated by the repeated presence of the same image over and over again. I wanted to convey these standards as unrealistic, as I believe there is a false perception of a smooth transition into adulthood: We are suddenly forced to act rationally after years of depending on our irrational, unfiltered actions and conversations. We must adjust to a life of continuity, routine, and repetition after years of living freely.
Visually, I wanted these patterns to be easily identified. In Chairs, Untitled, and both Flowers 1 and Flowers 2, I had the freedom to create my own patterns. In Queens 1 and Queens 2, I was working with a found (though created) pattern and had to choose which mediums to put the pattern on. I tried to make them an important part of the piece without necessarily making them the subject of the piece.
I positioned all of these works fairly close together to reinforce the underlying theme within all of my works. Chairs, Flowers 1, and Flowers 2 are positioned on the right side, exploring the earlier segment of childhood, while Untitled, Queens 1, and Queens 2 depict the loss of ignorance and becoming more exposed to the harsh reality of adulthood and life. Each one of my pieces contributes to a timeline of emotion, discussing different points in time as we mature into grown individuals.